There is a long tradition of artists and writers joining forcesin small journals, limited-edition books, and other printed matter. Yet even when formed on the basis of evident stylistic affinities, these working relationships have rarely been egalitarian; typically, the pictures illustrate the words or else the words caption the pictures. The coproductions of artist Alex Israel and novelist Bret Easton Ellis are something else, not only in that they are singular artworks, made to be hung on the walls of a gallery rather than circulated as publications, but because neither side gains the upper hand. Both Israel and Ellis get to do their by-now patented “things,” converging only on choice of subject matterthe Los Angeles mythos, particularly as it pertains to Hollywood. This terrain, germane to both of these native Angelenos, is one that they treat in separate ways. As